“Getting to know you! Getting to know all about you…”

Alrighty. It’s been almost a week since my last blogposting, and that’s far too long for my taste. I have a lot to update you on, and some observations that I have gleaned via my “travels through the blogosphere”.

Remember how I had to set aside that ebook I had been reading, Creating a Blog Audience by Sister Diane? I had reached a point where I didn’t want to progress further until I felt confident to answer some of the questions she was posing. At a certain point in the book, I realized that I didn’t know enough about the blogging communities that I was posting my blog for– art, craft, and business–and I really needed to do some investigating.

Well, I can say with absolute certainty that’s easier said than done. The blogosphere at this point is rapidly increasing, and the more I felt I was visiting “the community”, the more I realized I was simply scratching the surface… I felt (and still feel) that I had reached the outskirts of a major urban hub, and said to myself, “Aha! My community!” when I actually should have waited and read some more signs to realize I had a long way to go… I think that getting to know the community you are writing for as a blogger is a never ending journey… I could visit blog after blog and post comment after comment, but I’ll never reach the end. 2 or 3 years ago, perhaps, there was a finite nature to the whole experience that implied there were edges to the blogosphere community that one could reach, depending on your interest. Not so much today. It’s like saying, “Get to know your internet!” Hah! See ya in 5-10 years when that’s done…


So at this point, I have endless numbers of bookmarks and doubled my blog subscriptions. And I have 30 open browser windows on my Mac’s dock, waiting for me to get back to read them. I keep finding great stuff!!!  The book did exactly what it was supposed to do: make me think about what it was I was putting out there, for whom, and how it fit in.

And that’s led me to realize there probably isn’t much I can add to the fabric of the blogosphere, really. What can I do but what everyone else is doing–“spins” on information that’s already been explored in depth? How many purse tutorials can a person read? Redoing what others are doing is not what I’d like to do…

So. I’ve decided to continue reading Sister Diane’s book, and hopefully I can progress forward on posting information that’s interesting to a specific overlap of my chosen communities. The book has profoundly opened my eyes to the concept that I need to recognize what my niche is. It’s made me realize that my particular “spice” that I add to the recipe of information that I post needs to be uniquely my own. It’s finding and recognizing that niche that I have to think about. And the more I explore the blogosphere, the more I realize those niches are very very hard to come by.

I find a lot of similarities (in my head) between the blogosphere and reality. In the rush of globalization that’s been made possible by mass and social medias, we’ve moved beyond embracing the whole and turned inward a bit. Our instinct is to pull in and find our diverse uniqueness that separates us and makes us distinct. The Handcrafted/DIY movement is part of that, I think. Our individuality as people was lost in the emphasis on our individuality as a culture, and now we’re trying to get it back through our creative expressions. Yes, we need and strive for social connections, but now we seek them not through our identification as part of the whole (by doing/believing the same things) but through our uniqueness that demonstrates our variation on the identifying culture. We want to belong, and yet we celebrate our distinctiveness.

Being part of any blogging community presents a quandary: belonging on the one hand, being different on the other. Being just enough alike, but not a copy.

So I’m going to move forward. I’m realizing I will never see the larger whole of my communities in the blogosphere, never truly grasp how they all fit together, who are the movers and shakers, who are the followers. And I think that means I will never really know if my blog is distinctive from the larger whole that it’s trying to identify with at the same time.

But I guess that’s ultimately like the business, art, and craft worlds, too, isn’t it? Someday, I may find someone doing what I do and doing it much better, or realize someone’s taken what I thought was my own uniqueness and is using it for their own. “Like business, like blog,” I guess.

But I can’t let that stop me, can I?


Costuming and Fashion: One of these things is not like the other…

Okay this is bit of a long one. Wow, do I have a mouthful to say tonight! And it’s perfect to start out the new direction of this blog. AND it’s all about the latest episode of Project Runway, which aired Thursday, September 24.

The challenge for the designer/contestants was to create a look for a character in one of several movie genres: Western, Film Noir, Period, Science Fiction/Fantasy, and Action/Adventure. It had to be completed in one day, and they had $150.

When I heard the challenge, I thought “Cool! This is right up my alley!”

And then I saw the results, and I was reminded how frustrating it is to be undervalued as a costume designer in the face of the fashion industry.

Tonight’s blog is about the definition of “Costume”. What is a costume, really? Is it a subset of fashion? Is it a matter of degree? Or is it something altogether completely separate?

No. A costume is fashion. However, a costume is much more overtly defined by a purpose and function that fashion doesn’t have to deal with.

First, a costume has a purpose. In a sense, fashion does as well, but not as explicitly defined as a costume’s. A costume is worn as part of a larger, collaborative effort that has a clear purpose: a performance of some kind, whether it’s to a party or as part of a production that’s filmed or live. A uniform is also considered a costume: it clearly delineates a person as a part of a larger whole separate from everyone else.

Second, a costume (unlike fashion) must support the vision of how that purpose is expressed. That may be focused through the eyes of a particular director or team, a studio, a bride, a choreographer, a corporate executive, or even a government.

Third, the costume must meet the dictates of a host of different “parameters” that are inherent to the nature of the expression. Is it a script? A cultural ritual like graduation or a wedding? Is it the impression desired for a fast food restaurant? Or the functionality of camouflage in a combat setting? How much time, money, and personnel is there to assemble it?

My experience is in theatre. My designs are regulated by a host of logistics that I have little, if any, control over. These include the script, the concept of the piece, and the genre. The purpose of the event dictates how those logistics are dealt with–is it better to get the message of the play across by putting it in period or should we place Arthur Miller’s pilgrims from “The Crucible” on the moon? Does the language have a poetic quality that can be abstracted somehow (putting everyone in foam rubber, for example), or do we need to put everyone in Masterpiece Theatre realism?

Fashion doesn’t deal with these quandaries. Instead of a script, fashion deals with the parameters set down by one’s particular “Style Tribe”.

What’s a style tribe? It’s the difference between what the sorority girls wear and the corporate executives. The movie, “Legally Blonde”, was an exercise in demonstrating conflicting style tribes. Tribes are defined by social class, age, gender, climate, politics, philosophies, occassion, or any number of different factors. And there are subsets: colleges have a wide variety of style tribes, including the artists, the stoners, the business students, the jocks, the science geeks, and the aforementioned sorority girls.


Each of these tribes comes with a host of what is “appropriate to wear” and what is not. Stepping outside the boundaries of what each tribe has determined as acceptable marks you as “not one of us”. (Incidentally, that’s why clothing can be terribly important to younger folk–fitting in is part of one’s self identity…) New Yorkers dress differently than Southern Californians. The Howells look different from Marianne and Ginger.


You get the point.

The problem with this week’s challenge on Project Runway was that they asked people to design a costume for a character in a movie genre. What they really wanted was a piece of fashion that was influenced by a movie genre.

Two VERY different things.


Let’s look at some movies that can help… These examples are costumes that were influenced by fashion. (Sometimes it’s helpful to look at the opposite situation.)  Please note that it’s a given in the costume design world that before the mid-1970’s, historical accuracy in film was “optional”. Some of our most beloved films that we regard as “period” are far from it.

For example: “My Fair Lady”. That musical is set in March of 1912. But you couldn’t tell that from the costumes: they’re about as 1960’s as you can get! Eliza’s traveling outfit, her Ascot Races dress, even her ball gown are all heavily influenced by the styles and fashions of 1964.



Another example: “Cleopatra”, with Elizabeth Taylor. Are you kidding me? Period accuracy would have warranted an X-rating. No, no, no… There was no such a thing as showing too much skin back in the Egyptian era…



These examples below use costuming in a more appropriate manner.  These films purposely mix period styles and contemporary influences into a look all their own: Bladerunner, for example. This is a sci-fi movie that is incredibly influenced by the film noir genre, on purpose, as a choice. So much of it was straight out of the 1940’s it could have been filmed in black and white…


Or how about Moulin Rouge? Those costumes were purposely enhanced from their period-accurate originals to include splashes of bright, garish colors and contrasting textures. They started with research. They made them non-period when they wanted them to be. They purposely blurred the lines between period accurate representation of historical fashion and created their interpretations of it in costume.


Today, genre accuracy in costuming is a highly valued skill: Lord of the Rings, Shakespeare in Love, Mad Men, Titanic, Evita, Memoirs of a Geisha, Elizabeth: The Golden Age, Chicago, Milk, Schindler’s List, Dances with Wolves, Star Wars… All of these have their own parameters of what fits and what doesn’t, most of them dictated by what is appropriate historically or as part of the “vision” that makes the purpose of the film/TV program more clearly evident. It doesn’t have to be “real” or historically accurate, it’s what fits the parameters. Working from accuracy to non-accuracy as a choice. On purpose.

So. What did we get on Project Runway? We didn’t get genre accurate costumes.  We didn’t even get historical fashion with elaboration.  We got contemporary fashion inspired by movie genres. Without a real grounding in costume history, there was no way they could accurately represent these genres. Inevitably, they created “versions” of them that were clearly not accurately part of those genres at all…  Here’s a link to the pics of the final results.

Our contemporary sensibility doesn’t read contemporary-fusion into historical accuracy as a choice. It reads it as inaccurate, or wrong. Only when the degree of debarkation from the original period’s style is clearly strong enough to distinguish the difference do we accept it as a “take” or “interpretation” or “stylization” of what is, in our heads, the “real thing”.

There are too many that know too much to get away with faking it anymore.

I’m not advocating simply replicating the past. What’s the point in that? But what I am saying is that on this particular episode, the purpose/function was not made clear. They were designing for genres as style tribes, not as part of a production. They weren’t designing costumes, they were designing fashions that had costume elements.

It really, REALLY disturbs me that costume is somehow denigrated and considered “lesser than” by so-called fashionistas. Being a costume designer is HARD. You actually work with other people’s ideas and collaborate–a runway dress does not have it’s own opinions. An actor does!! Costuming requires a real operating knowledge of costume and fashion history, and the ability to implement it when appropriate, a lot of people skills and a host of other widely varied skills.

“Too costumey” as an insult? I think not. What about the retro movement? What about the up-cycling/second-hand movement? Goth? Punk? Rockabilly? And what about those Prada shoes that one wears to the office? Dressing up as costuming? Hmmm….






“Costumey” is not synonymous with “inappropriate or overdone fashion”. It is not “too dramatic”, or “fake”. That’s insulting.

What is really at issue is how one personally determines when the degree of “dramatic flair” in one’s fashion sensibility is too much for one’s own taste, situation, etc.

And it’s funny how I look at runway shows today, and all I see is fashion dipping more and more into costuming’s dramatic flair by leaps and bounds, stretching that imaginary line of “appropriateness/too much drama” further and further. Given different defining parameters and purposes and logistics, those clothes would be considered costumes without any changes whatsoever.

It’s all about context.

In a sense, one could say that everything we wear is a costume, and that we pull attire from our closets based on outside parameters every day, depending on what we’re doing, or how we’re feeling, or the weather, or whatever… If anything, it seems to me that fashion is a contemporary subset of costuming, not the other way around.

And that’s my overly long 2¢.

Life life with Relish! And wear that costume well! : )

E-Books and Pondering

I’ve been reeling from a particular e-book that was recently released, written by “Sister” Diane Gilleland of Craftypod fame (www.craftypod.com). It’s called Creating a Blog Audience. It’s the “sequel” to another e-book that she published called Making a Great Blog, and when you put the two together they pack a mind melting whollop that has really made me sit back and ponder stuff. (Incidently, I don’t know why she calls herself “Sister” Diane, but it works. She’s preachin’ good stuff, lemme tell ya!)

First off, let me say that I’ve listened to all of the episodes of Sister Diane’s podcasts, and I can’t recommend it highly enough. I was raving to a colleague about it one day, only to learn that she actually listened to Sister Diane, too! My friend isn’t into the podcast universe as much as I am, so to learn that she had actually heard of it was a real surprise! I download it off of iTunes (I have a Mac computer) and listen to it while I work in my studio. Makes me feel like I’m multi-tasking with the best of them, and actually getting twice as much done!

When I heard that she was releasing this book, I pounced on it and downloaded it and the other blogging book she wrote. Both come with extra “workbook” sheets that let you complete her exercises that she outlines. And those exercises have been incredibly interesting to me.3878035847_8b44d88b8d_o

I read the first book straight through, and loved it. Just to help explain the impact it’s had on me, I now have a poster on my wall by my computer that lists the “reasons I write on my blog”. It’s quite useful in maintaining my focus! I’m now measuring everything I contemplate writing about against those reasons, and it helps me figure out appropriateness, validity, and usefulness.

But the second book really made me sit back and think about stuff, and I’ve had to actually set it aside for a bit because it’s made me realize I have a lot of self-educating to do. In the second chapter, it poses a question: “What kinds of crafts do your ideal audience members like to do?” And that perplexed me. I realized very very quickly, I had very little idea of the kind of crafter/artist I was writing for. I was just “putting it out there” without any real thought behind who might actually be interested in any of it.

And that led me to realize that I don’t spend nearly enough time actually reading other people’s expressions. If I am going to write anything that is relevant and interesting to anyone, I have to know what else is being said, what they’re interested in, and provide a reason why they should read my blog in the first place.

empowering-orthers-to-achieve-successWhich led me back to my reasons on my poster. And it’s slowly starting to sink in that my reasons for writing the blog are rather “self-oriented”. I started this blog to help promote my wearable art business, and I’m coming to see that simply isn’t enough. Who wants to read a blog full of self-aggrandizing advertising? I certainly don’t.

So from here on out, I’m not only going to update you on what I’m working on, but I’m also shifting the focus away from me and more toward things that are interesting in a more practical sense. Philosophy, tutorials, interesting links… Since I’m not teaching theatre anymore, I might as well use that “bank” of resources and share them with you. Things like costume history, pattern drafting tutorials, online costume resources, material resources, small business advice, theatrical crafting materials, period styles and ornament, clothing accessories, theatrical movements, philosophies, art history… I’m excited about making this blog my classroom.

If I can help my blog audience relish their artistic capabilities through lessons, advice, examples, projects, and juicy discussions, then this blog will serve a purpose beyond simply being a tool for me. It can be a tool for you, too.

And somehow, I feel really empowered by that, you know?

How I Sew, Part 2: A Vest Tutorial

I touched a little upon my sewing process in a previous post called “How I Sew, Part 1”. Well, now I’m going to get a bit more detailed, because it dawned on my that this new vest project could be perfect to use as a tutorial. Those of you who may not be incredibly interested in sewing may find this post a complete and utter bore. But for those who are curious, this might be useful to you (hopefully).

I’ve been snapping pictures along the way as I work through each step. This particular post has a lot of pictures, because as I discuss details, I need visuals. So it may seem a bit longer than most posts.

First off, I have to say this vest is modified from one found in a commercial pattern package: Simplicity #2566.  While I can make my own patterns, I don’t really want to unless I have to, so this was a lot easier. I traced the pattern size that I needed onto paper (leaving out the seam allowances inherent to each pattern piece–I prefer to add my own.  See Part 1 for more info on that…) and proceeded to lop it into pieces…

Choose What You Want

Choose What You Want

Below is a picture of what my finished pattern looked like when I was done. I added a collar, extended the shoulder seam, and cut many of the pieces into halves… I also created a facing piece for the lining along the center front button closure on the inside.

Adjust your Pattern

Adjust your Pattern

This process required me to make notches in the new pieces I made, just to make sure that I was lining all the curves up correctly.

I knew what I was wanting–a festive vest with vertical panels in Christmas colors. The pic below is a shot of the fabrics that I chose. Not that the gold fabric is sheer… I would need to mount this to another fabric in order to use it, otherwise my vest lining would show through (or, alternatively, this vest could be worn only at adult oriented Christmas Parties… hehe…). All of the fabrics were actually too flimsy to use on their own. I think they may have actually been drapery fabrics, and so they hang beautifully but have no body whatsoever. All of them would need to be supported somehow.

My Selected Fabrics

My Selected Fabrics

The solution to flimsy fabrics? Flatlining. I would essentially “marry” two different pieces of fabric into one. And that meant finding a fabric to meld onto my fancy outside fabrics that wouldn’t be seen but would bolster it up and make it a bit sturdier. I chose a cheap $1/yard cotton broadcloth. Akin to muslin, it would do the trick. The process is called flatlining, not lining. Lining is a separate piece of fabric that makes wearing easier and more comfortable. This is a structural method.

I took my pattern pieces, laid them out on the cotton (making sure the grain lines match), and traced around each paper guide with a sharp soft lead pencil. Making sure to make little pencil marks where I had cut out all the notches, I then traced around the edges of each pattern 1/2″ away. This was my cut line. I now would have a 1/2″ seam allowance. Finally, I cut each piece out.

I then used transfer paper and a pouncer to transfer the lines on one piece of fabric to the second piece of fabric underneath it. Voila! You have a left side and a right side! My transfer paper is red, and it’s mounted to a piece of poster board for easy use. My pouncer is flat, so it creates solid lines. I use paper weights and cups to hold down my patterns, or I simply pin the paper to the fabric.

Pouncing Lines

Pouncing Lines

The next step is the hard one, and you need good eyes. But it’s a REAL time saver. Instead of tracing each layer out separately, I simply take my newly marked flatlining and place it on the fancy fabric. The trick is to make sure the grain lines match up… What’s a grain line you ask? It’s the direction of the threads. If the flatlining and the fancy fabric don’t line up with the same direction, the two pieces won’t behave nicely, and they’ll sorta fight. (My analogy about marrying to the two pieces together isn’t so far off, but there isn’t an option for counseling in the fabric world…). The edge of the fabric is indicative of the direction of the grain.

The picture below is comparing the grain line of a flatlining piece with the grain of the fabric underneath it by using the edge to see if it’s laid down straight. The direction of the threads in the flatlining should match the directions of the fabric, and I measured out from the edge at the top of my flatlining piece and at the bottom, making sure they were the same distance from the edge. Otherwise, if they were off (even by a little bit) the pieces wouldn’t fit, and the next step would be a nightmare.

Grain Lines

Grain Lines

It’s important to make sure that your flatlining pieces were cut out following each pattern piece’s indicated guideline. If they weren’t you’re setting yourself up for trouble even before you get to laying them out on your fancy fabric.

Pinning is also important. I pin the two pieces together along the stitch line, crossing it. Some people pin their flatlining along the stitch lines. I find that problematic at this stage, cuz I just wanna get these two pieces together without having to care about taking the pins out as I sew… So I pin them together so I don’t have to take the pins out at all… Lazy? Maybe. Time saving? Definitely!

You’ll notice in the picture below that I use quilting pins. I like them. They have the plastic head that make them easy to pic up with my stubby “man-fingers”, and they’re long, thinner, and usually sharp. I find they work with a wider variety of fabrics than the traditional shorter pins used for sewing, because they’re simply easier to handle. I also have a specific pair of sheers for cutting delicate fabrics. While it would be nice to use one pair of sheers for all purposes, sometimes those big honkin’ 12″ cutters are too big to wield easily for floaty wafting fabrics that demand a softer touch.

Needles and Pins!

Needles and Pins!

Now I had to deal with that sheer metallic fabric I chose. Backing it with a second fabric, I cut out that piece, placed it on my sheer, and cut those out first before I pinned my flat lining to it. Seemed easier to me that way.

Notice the grid created by the red and green stripes. How weird would it look if they weren’t symmetrical on the body? Or if one panel ran in one direction and the other panel on the other side of the body ran in a different direction? Probably not so fashionably kosher. “Like, how homemade lookin’, dude!” So a little attention to lining up the grain line and making sure both pieces are exactly the same will save a lot of embarrassment later on.

Backing Sheer Fabrics

Backing Sheer Fabrics

Finally, the two pieces are cut out!

See how they shine together?

See how they shine together?

Now to have the marriage ceremony and sew all the layers together! Flat lining is stitched 1/4″ away from your stitch line, which is conveniently half a presser foot width on your machine! Look at the pic below to see the correct placement of the stitch line. This is a Vegas wedding, so your stitch length should be as long as you can get it so the whole thing is done as quickly as possible. Wham! Bam! We wanna get to the next step of actually assembling the garment!

Sew!  Sew like the Wind!!!

Sew! Sew like the Wind!!!

However, being in too much of a hurry isn’t good either. Check out what happened to me below: a shoddy needle I ignored too long. See what happens when you don’t put into your machine a fresh, clean, bur-free needle of an appropriate size for your delicate fabrics? Your threads revolt, and you get stripes. Icky, ugly pulled stripes from threads that got beat up by your crude, brutish needle. Usually, a sleek clean needle pushes the threads aside, but not this one. This particular needle was a real thug, and simply shoved his way through, and met with resistance! Viva la Resistance! Yeah, well, your seem ends up looking crappy. Best to avoid confrontation altogether, and keep your neighborhood watch active: change your needles!!!

Bad needle!  Bad, bad needle! Shame on you!

Bad needle! Bad, bad needle! Shame on you!

Okay, so finally, having married all these pieces (busy little Vegas sewing machine, eh?), I laid them out on the table to see how it would look eventually.



And then I thought of the lining I was gonna add.

And decided I’d do that tomorrow.

So. This one was LONGGGG! But I think it’s helpful to anyone who is curious about the sewing process I follow. And perhaps a little inspirational, too. I do all of this in my garage, on the top of an old door set on two shelving units. You don’t need a fancy schmancy sewing room to do it (although in my dreams, my studio is to DIE for, and someday I’ll have that…).

Alrighty, next entry, we move on to assembling the garment!

Live life with Relish!

New Arrivals!

Whee! I had a good day today! Not only did I slam an entire project together that I am tickled pink about, but my black velveteen fabric arrived from UPS. Finally! And on top of that, I got a Folkwear pattern in the mail for a Poiret Opera cloak, which I will be using as inspiration for my own…

I am so excited!! Now I have a whole slew of projects to get done, and that makes me feel really good.

I still haven’t sold anything yet (and that really bums me out, but I can’t wallow in those thoughts for long), but I am confident that these new items will be different and fun. I look forward to doing some velvet painting on those opera cloaks, and seeing if they attract much attention. I’m also going to dive into a new series of coats that aren’t made out of velour, so they’ll be infinitely lighter and more wearable.

But tonight, just as a preview, I’m posting pics of the project I slammed together last night and today. A really nice piece that’s deceptively warm… A vest that my partner named “Gay Apparel”, so I think that’ll be this particular festive holiday-wear series of clothes… Kinda Christmas/Mardi Gras/Circus, I think! I really dig the standing collar. It’ll be up on Etsy and Artfire soon!

Until next time–Live life with Relish!

The Side Front.  Note the standing collar...

The Side Front. Note the standing collar...

The alternating panels seem quite "carnival-esque" to me...

The alternating panels seem quite "carnival-esque" to me...

The Collar can go up, down, or mid-way like this...

The Collar can go up, down, or mid-way like this...

How I Sew, Part 1

Hey, gang!  I figured I’d let you in on some “trade secrets” regarding how I put together a lot of what I work on.  A lot of my process is influenced by my background in theatrical design and construction.  I learned a particular way of sewing that is kind of an offshoot of the regular kind of home sewing one does with a store-bought commercial pattern (like Vogue or Simplicity or Butterick, for example).
I use a method called “line-to-line” sewing.  In a nutshell, instead of cutting out a pattern with an automatic 5/8ths inch seam allowance, I literally draw each line on the fabric and sew the lines together.  Most costumes shops cut around each of their hand-made patterns with an inch of seam allowance (to allow for fitting adjustments and use on other actors in the future) but end up trimming away what they don’t need.  The biggest difference is sewing on a line instead of sewing a certain distance from the edge.

Hey, gang!  I figured I’d let you in on some “trade secrets” regarding how I put together a lot of what I work on.  A lot of my process is influenced by my background in theatrical design and construction.  I learned a particular way of sewing that is kind of an offshoot of the regular kind of home sewing one does with a store-bought commercial pattern (like Vogue or Simplicity or Butterick, for example).

I use a method called “line-to-line” sewing.  In a nutshell, instead of cutting out a pattern with an automatic 5/8ths inch seam allowance, I literally draw each line on the fabric and sew the lines together.  Most costumes shops cut around each of their hand-made patterns with an inch of seam allowance (to allow for fitting adjustments and use on other actors in the future) but end up trimming away what they don’t need.  The biggest difference is sewing on a line instead of sewing a certain distance from the edge.


Various Patterning Tools I Use

So to develop the pattern for my coat, I used a size 12 “sloper” (available in stores) and adjusted it to what I needed.  A sloper is a basic pattern for a specific set of standardized measurements common to various sized bodies.  I simply traced the commercial pattern along the seam allowances marked onto a piece of kraft paper, then adjusted it to what I needed.

Pattern alteration is an art in itself, and people get paid big bucks to do it in the manufacturing industry.

Knowing that all my fabric was just 8″ wide, and that I had very very little to work with, I used each piece that I had to it’s maximum potential, and adjusted the pattern to what I needed.  Coat like, curvy pieces for interest, no real shaping involved.  Notching all the pattern pieces for markings on the fabric to line up (so the curves fit accurately) was a time consuming process.  I developed a collar pattern, and adjusted the sleeves for a little more room in the arm.


Differences in Seam Allowance

Reassembling all the pieces after cutting them out, I re-adjusted the pattern so I could cut out the coat’s lining pieces, which don’t have the curves in them.


The Coat's Specific Wavy Pattern Lines

And voila!  The beginning of a most unusual coat!


The Same Specific Wavy Pattern Lines in the Coat Itself

As I move forward on different projects, I’ll share more of how I put things together.  Until then, live life with Relish!

“Golden Rose” Coat and Purse

Well, here are some pics of the newest stuff. Coat is Sz. 18, forest green satin lining, genuine bone buttons!  The purse is loosely structured, with a magnetic clasp in the center to keep it closed.

Next, I’ll be working on a new coat with some lighter velvet instead of velour, so we’ll see how that works out!  Woohoo!

Still no word from the State, but I have no doubt it will come eventually.  My dress forms were ordered 4 days ago, and they’re coming UPS Ground, so it’ll be sometime next week (hopefully).  I’m still scouring the internet for more interesting goodies, and found another blog that I was really intrigued by.  Hopefully, you will be, too!  It has some really cute stuff, but most of all it’s about “beginning” crafters sort of like me.  It’s very validating!  Enjoy!

Indie House

Until next time, live life with relish!





An Etsy Step

So I went on Etsy and Artfire tonight, trying to find others that are making the kind of stuff that I’m thinking about… And I can’t find anything.  I can indeed find a lot of stuff that’s “costumey”, and “period inspired”, and a lot of “retro/goth” looks, but not what I have in mind.  If I see one more little girl’s tulle skirt I’m gonna heave, but at the same time I’m very encouraged!   I had to fill out my public profile and write a description of what I thought this was all about.  I’ve included it below so you can see.  I’d appreciate any comments you all might have…  : )

Relished Artistry is a wearable art venture poised to infuse joy back into the wearing of clothing. It’s my goal to help the people who wear my pieces  feel expressive, stylish, excited, and cultured. Relishing the artistic opportunities inherent in clothing, the aim is to bring out that inner flair in all of us, so we can feel good about how we adorn ourselves. 

Based in San Diego, I have 20 years of professional and educational theatrical design and construction experience making clothes that are built to last, not just cheap theatrical knock-offs. My apparel is built from the ground up, using quality methods with attention to detail so you can be beautiful. Every piece is not only handmade, but it’s a one-of-a-kind work of art. No two pieces are exactly alike. Each is either part of a limited edition or comes with it’s own title. 

The artistic opportunities inherent in clothing are limitless! Materials abound all around us. My influences are culled from my exposure to theatrical literature and my study of a variety of stylistic eras throughout the world. Sometimes overtly retro or culturally specific, each piece may use a variety of materials. From hand painted velvet capes and coats to handbags, shawls, or whatever else may be inspiring, my pieces are authentic and heartfelt regardless of the materials. 

Showing how we are unique through what we wear on the outside is part of the how we share with others who we are on the inside. Life is too short. Live it with relish!

Whatcha think?